best lcd monitors for dslr manufacturer

If you"ve just started out in video, on-camera monitors may seem like a luxury. Experienced videographers will tell you otherwise. As well as enlarging the display to make recording easier, lots of on-camera monitors can also improve your camera"s video output. Whether you"re shooting on a cine camera, a mirrorless, or a DSLR, an external monitor is a necessity if you want to get serious about filmmaking.

Some of the more high-end on-camera monitors not only increase the size of your display but can improve your camera"s video functionality. For example, when shooting with a Panasonic Lumix S5(opens in new tab) and an Atomos Ninja V external recorder, you can shoot 12-bit RAW instead of 10-bit 4:2:2 with its internal recording option. On-camera monitors are also great additions if your camera lacks features such as a fully articulating screen such as the Blackmagic Pocket Cinema Camera 6K(opens in new tab).

Even if you have features turned on such as focus peaking, zebra lines, and false colors, an on-camera monitor lets you apply frame monitors which can reveal flickers that smaller monitors might not. They also enable you to proof content and show other people on set without having to cram around a small screen.

In this list, we run through the best external monitors and video recorders around so you can get the big-picture experience before you hit your editing suite and it’s too late to re-shoot.

Since the release of the Atomos Ninja V back in 2018, it has become pretty much the industry standard in monitor recorders. It"s a popular choice among both budding and professional videographers and filmmakers thanks to its beautifully calibrated 5-inch HDR display and its ability to support 4K 60p ProRes HQ, H.265, 4:2:2 ad DNxHR. The Ninja V will also support 6K Apple ProRes RAW and it"s the only monitor of this size to do so thanks to a deal between Apple and Atomos. Other features include pro-level monitor tools such as waveforms, false colors, HDR monitoring and LUT support.

If your camera doesn"t support 4K, the Ninja V might be a bit overkill as you won"t make the most out of the features you"re paying for. If you"re just after a monitor so that you can view your video easier, the Atomos Shinobi would be a better option and it will save you money. Alternatively, if you"re shooting some serious projects and need something even bigger, the Atomos Shogun(opens in new tab) which appears later in this list sports a massive 7-inch screen, perfect for using with the best cinema cameras.

With the built-in camera control for various Canon, Sony, Panasonic, Blackmagic, and even Z Cam cinema cameras, this is a great option for anyone wanting a monitor that will help a filmmaker get the shot and be a very helpful visual aid in the composition process.

For a reasonable price, you get a great package that is built to withstand the vigorous day-to-day life of a filmmaker while on set, in the studio, or for on-the-go shooting. Paired with a tough travel case for ease of transport between shoots, great monitor features, and the ability for onboard audio monitoring, the PortKeys LH5P II is a great 5.5” monitor for anyone looking to up their game in the cinematography world.

If you"re just looking for an external monitor and don"t need recording capabilities, the Atomos Shinobi delivers the display quality of the Atomos Ninja V but at a fraction of the price. It"s the perfect choice for vloggers who shoot with a camera with limited screen articulation such as the Sony A7 III(opens in new tab) or the Blackmagic Pocket Cinema Camera 4K(opens in new tab) which has a fixed display.

The Blackmagic Video Assist 5-inch is the only recorder in our round-up that can capture Blackmagic"s own RAW code video introduced on its Pocket Cinema Camera Range and is an ideal option for any editors who use Davinci Resolve to grade and edit.

This is the big brother of the original Shinobi, offering a much larger 7inch display - and billed as the movie directors and focus directors, but also as a great presentation screen for vloggers wanting to see clearly what they are recording. Its bright 2200-nit screen is the key attraction here - but it also does much more than just monitoring your image. With HDR capability - it offers built-in Log conversion, so you can see what your raw footage is likely to look like when edited, and you can even load up your own LUTs via the built-in SD card slot.

It seems impractical to spend thousands on afield monitor since most cameras already give you a preview of your subject. But if you want to create intelligently framed shots with a creative punch, having one of the best field monitors can really hand you that competitive edge.

Let’s start with its standout feature: its 2200-nit brightness setting, which is over double the regular 1000-nit brightness of standard monitors. Paired with the monitor’s max brightness capacity, the great pixel density, high-quality resolution, and 1200:1 contrast ratio work together to prevent the display from being washed out by ultra-bright sunlight.

As if that isn’t enough, FW279 boasts color calibration technology, which allows for precise color reproduction. No distortion and only real colors captured in real-time; that’s Feelworld’s guarantee. Add in the great monitoring tools, and you’ve got yourself an impressive field monitor for high-level videography.

Budget monitors with decent displays were hard to find until the Neewer F100 completely changed the game. Designed with a built-in speaker, a headphone port, and composite inputs, this monitor is quite impressive. It’s also capable of displaying images with an ultra HD 1280×800 resolution.

The Neewer F100 falls short in terms of brightness, resolution, and other image-enhancing features. The good news: It makes up for it with an excellent 1200:1 contrast ratio.

Its 5.5-inch 1920×1080 display delivers clear images for different shooting applications. It also has a 1000:1 contrast ratio, making it a great monitor for brightness adjustments.

What really sealed the deal for us is the touchscreen, which makes it easy for you to quickly access the menu by swiping and pinching the display. This comes in handy when you’re shooting outdoors and want to change your zoom and brightness settings.

And this functional device has video-assist features that go beyond the basics. Other than the standard histogram, false color, and peaking tools, you also get 3D LUT support via an SD slot, which is more common on higher-priced field monitors.

A bonus feature is its 8V DC output, which is compatible with a range of video-capable DSLRs. We like the solid dual-battery mount, which can support Canon LP-E6 and Sony NP-F batteries.

The Atomos Ninja V gives you the best and the most accurate previews of your photos and video footage. Compact in size but packed with features that boost efficiency, this device is a strong option for professionals.

Its 5-inch HD display offers a wide array of functionality, including a playback and recording option. Other external monitors can’t directly record 10-bit 60p video, but the Ninja V steps up and shows the world that it’s possible. You can even record 4K 10-bit HD video straight from your camera via an HDMI 2.0 cord.

These features, along with focus peaking, multi-level exposure tools, and a 1000-nit brightness setting, make the Ninja V a great monitor for all occasions.

The Lilliput A11 is another superb field monitor. It benefits from an excellent-quality 1920×1200-resolution screen fitted into a 10.1-inch 8-bit LCD display. This includes 320-nit brightness and full lamination technology so you can see everything as clearly as possible.

The R5 gets you access to high-tech monitoring features such as a waveform (for brightness), a vectorscope (for chrominance such as saturation and hue), and LUT support (for color manipulation). Likewise, this device enables you to adjust brightness and the color gamut via two modes: PQ and HLG. Together, these tools allow you to make essential adjustments while shooting.

In terms of connectivity, this device gives you more than just an HDMI input/output option as it also includes a 3.5mm audio headphone jack and an SD card slot. Thanks to its handy tools combined with impressive connectivity, the R5 is definitely a great option for the price.

The Atomos Shinobi is perfect for cinematographers and vloggers who prioritize great imagery. It even offers unique functions that make shooting more personal and hands-on.

The Shinobi field monitor won’t let you down when you’re shooting outdoors thanks to its 1000-nit brightness setting and 5-inch HDR display. You’ll be able to see crisp images even when you’re shooting in daylight. Nothing beats the Feelworld FW279 for outdoor shooting, but even so, the Shinobi’s brightness setting is still very respectable.

Its major highlight is the new Analysis View feature, which gives you complete control over your shoots. It basically lets you view your shots while simultaneously allowing you to make tweaks via tools like the histogram, waveform, and vectorscope.

If you want touchscreen functionality, the Portkeys LH5P II is one of the best field monitors available. It has a large 5.5-inch touchscreen with a brightness of 2200 nits and a 1920×1080 resolution, and the glass is tempered for superior durability. The display is housed within a robust metal frame that should withstand the rigors of travel and on-site photoshoots.

News flash: Not all camera monitors have recording capabilities. But before we compare the difference between non-recording and recording monitors, let’s first discuss the typical camera setting.

Basically, most cameras have a built-in internal recorder, but they are essentially designed for capturing still images, which in turn greatly impacts thermal management, data compression, and battery life. When used as a standalone device for recording live videos, these cameras often offer low bit rates.

Field monitors with recording capabilities cannot alter the details your camera produces, but they help you produce better outputs by reducing lossy data compression, which results in media distortion. Also, a recording monitor provides video outputs in a wider range of formats that greatly match popular video-editing software. And it doesn’t stop there. When you’re out on a shoot, a recording monitor will give you features that non-recording monitors lack.

Most cameras offer a small preview on the rear LCD. But while this is useful, a field monitor will give you a larger view and better flexibility when setting up your compositions. And by identifying small issues in advance, you can make on-location tweaks that’ll prevent you from spending extra time editing.

As a general rule, wider monitors require more head movements, making it more convenient to use monitors in the range of 5-7 inches. Also, these monitors usually come with extra tools such as a waveform, peaking, a vectorscope, and false color. Larger monitors are best mounted on a separate device for added comfort and stability.

Weight is an important factor for many on-the-go videographers. While lightweight monitors help boost productivity and lessen fatigue, heavy monitors can do the complete opposite. More importantly, weight can affect stability and balance, especially when you’re shooting outdoors.

By definition, video resolution refers to the density of pixels displayed on your device. Field monitors are commonly available in two types: High Definition (HD) and Standard Definition (SD).

What you want is to view unscaled footage that lets you see the real quality of the images you produce. You can do this by looking for a monitor with 1:1 pixel mapping, which is a display technology that gives you an exact preview of your output.

Do you frequently shoot outdoors? There are camera monitors that give you better control over brightness, but generally, 1000 nits or so can give you the flexibility you need. You should also check on the field monitor’s contrast ratio, which affects brightness and color.

HDMI is an interface used for processing two types of digital data: uncompressed video data and either uncompressed or compressed audio. The maximum length of high-speed HDMI cables reaches up to 49 ft (15 m), while regular HDMI cables are usually 16 ft (4.9 m) in length.

SDI, on the other hand, is the professional standard for processing signals. Depending on the quality, SDI cables can transfer digital data up to 390 ft (118.9 m) or, in some cases, 2,500 ft (762 m).

While your camera may already have the tools you need, a good camera monitor can mean a significant difference in your shooting and editing workflow. Below are some of the tools you may come across as you look for the right field monitor:

Scopes are color analysis and exposure tools that rarely come with a still camera system. They help you better visualize exposure and luminance via waveform displays. Thanks to these waveforms, you can efficiently tweak contrast and exposure in different frame points.

Focus peaking, focus assist, and zoom tools generally help you keep your lens focused while shooting. Why do you need these when most cameras have an autofocus function? For one, these features come in handy when doing precision shooting, particularly if you’re focusing manually.

Audio channels are not a necessity, but it’s good if your monitor supports at least two audio channels. A handy tool for videography projects, an audio channel will help you efficiently track the sequence of your audio and video data.

Having an external camera screen can be helpful for videographers or stills photographers. Especially ones who feel they need a larger display. There are several advantages, including better screen resolution and visualization.

There are a few key features that we’ve listed for each of the external camera screens on our list. Go to the buying guide at the end for how to choose an external monitor.

The Cine 7 is a large, bright Full HD touchscreen monitor ideal for outdoor shooting. Its features include framing guides and 3D LUT overlays, but it doesn’t support 4K.

The Neewer F100 is a large monitor ideal for a Canon camera. It comes with various “extras,” including an AV/HDMI cable, a hot shoe ball head, a shoe mount, and a sun hood. Screen resolution and brightness are limited, but this external camera screen does offer basic features such as zoom assist, scanning, and color peaking.

The Feelworld F6 Plus is specifically designed for professionals as an on-camera monitor to be used with Canon DSLRs. The display supports Full HD screen resolution and the input/output ports cover all the most popular options.

The T7 is a budget-friendly version of the FW279. It makes up for the lack of 2200-nit brightness with a large screen, slim design, wide viewing angle, and a range of monitoring tools. It includes color calibration technology, a focus peaking filter, a histogram, exposure controls, and a false-color function.

The R7 is one of the cheapest seven-inch monitors. It has a bright 400ppi screen ideal for shooting outdoors. Plus, you can operate it using the touchscreen or buttons (if you’re wearing gloves).

Several options are available for in-camera video editing for professional shooters. These include Exposure Assist, Focus & Composition, and Picture Style. It’s compatible with DSLRs and mirrorless cameras made by Canon, Nikon, and Sony.

The Atomos Shogun 7 is effectively a seven-inch version of the Ninja V. It is ideal for professionals working with some of the best cine cameras who want external recorders with a large, bright HDR screen.

It offers real-time recording capabilities in 4K formats such as ProRes RAW and CinemaDNG. And there are built-in presets that can cope with camera manufacturers’ log video formats.

The Shinobi five-inch and seven-inch monitors are the equivalents of the Ninja V, but you can’t use them as an external recorder. The Shinobi 7 is the bright, seven-inch version with log conversion. So you can preview the look of RAW footage and have the ability to upload LUTs from an SD card.

The Atomos Shinobi is the little brother of the Ninja V. It has a Mirror mode aimed at vloggers on a budget. It doesn’t have recording capabilities but is good for a camera without a fully articulating screen (like the Sony A7 III). It’s also small, light, and bright enough for shooting outside.

It shares the Ninja V’s ability to show HDR pictures that the camera’s LCD might not cope with. And there are plenty of display options such as waveforms and histograms accessible through the user-friendly menu system. It even supports 1D and 3D LUTs.

The A6 Plus offers a lot of features at a low price point. The video assist options include a histogram, a false-color function, peaking tools, plus 3D LUT support via an SD slot. You can also use the 8V DC output to charge DSLR cameras.

Blackmagic Video Assist is at the top end of the market for five-inch on-camera monitors. Plus, it’s the only one that can capture Blackmagic’s RAW code video when shooting with a model from its Pocket Cinema Camera range. It also offers 3D LUTs, professional scopes, exposure tools, and focus-assist features.

The Lilliput A7s is the most affordable seven-inch on-camera monitor on the market if you don’t need to record your footage. It has buttons and a scroll wheel rather than a touchscreen. It also fits onto a DSLR hot shoe, can cope with 4K video (with loop-through HDMI output), and has two customizable function keys.

It offers similar bells and whistles to more expensive on-camera monitors. Functions include Pixel Zoom, Audio Level Meters, False Color, Check Fields, Color Bars, focus peaking, a pixel-to-pixel scan, and image flip. All these features are designed to make life easier for videographers.

If you’re looking for a bright, contrasty on-camera monitor, then the BM5 III may be the right choice for you. Its screen is only 5.5 inches and can’t record video, but the brightness rating of 2200 nits is only beaten by the Blackmagic Video Assist listed above.

It also offers excellent connectivity, supporting 3G-SDI, HDMI, HDMI-SDI cross-conversion, and Bluetooth. Other valuable tools include precision waveform, zooming, color temperature, ARRI false-color mode, improved focus peaking, underscan, OSD flip, image capture, and 3D LUTs—which you can use a flash drive to upload.

The real strength of the FW279 is its large, bright, contrasty, high-resolution screen that’s perfect for shooting outside in direct sunlight. The color calibration settings allow for excellent color rendition. And there are plenty of monitoring tools available, such as focus assist, zebra stripes, and histograms. It’s also designed to work with most DSLR and mirrorless cameras.

The Ninja V is a popular monitor due to the well-calibrated HDR screen and support for 4K up to 60fps, 6K Apple ProRes RAW (from the Nikon Z6 and Z7), H.265, 4:2:2, DNxHR, and log formats from ARRI, Canon, Panasonic, RED, and Sony.

In fact, the Ninja V can even improve the quality of footage your camera can shoot! For example, if you have a Panasonic Lumix S5, you can shoot 12-bit RAW instead of 10-bit 4:2:2.

There are also a host of features available, including multi-level exposure tools,waveforms, a vectorscope, focus peaking, zebra stripes, and a false-color function.

The on-camera monitors in this list are all between five to seven inches in size (measured diagonally). But you’ll still need to consider other factors. These include the size and weight of your camera, how you plan to connect them, and whether you’ll generally be shooting handheld, using a gimbal, or from a tripod.

Resolution—This is essential, and we mean not only the screen resolution of the camera monitor itself but the resolution of the footage. Most monitors have a 1920 x 1080 16:9 screen. But that doesn’t mean they can’t display or record 4K UHD video, which has a resolution of 4096 x 2160.

High-end DSLRs and mirrorless cameras now offer many monitoring tools to help videographers, including zebra stripes and focus peaking. However, an excellent external monitor will offer all that and more—plus the ease of use from a larger screen.

Two features that might be very important to you are touchscreen control and the ability to record directly to the monitor. We’ve picked those out separately in our list to make it easier to narrow down your Replace for the perfect camera monitor.

Wireless monitors have the added benefit of giving you the freedom to walk around without being tied to the camera. Some even offer a “focus following” system that lets you adjust the focus remotely from the camera monitor itself rather than the camera.

It’s no good buying one if it won’t “talk” to your camera. So it’s important to work out which video formats and codecs you’ll be using. Also, you need to know which microphones and headphones you’ll be using. And whether your external camera monitor comes with all the right connections.

Some monitors are specifically designed to be on-camera monitors mounted on the hot shoe of a DSLR or mirrorless camera. It’s convenient if the external camera screen has a built-in “tilt arm” that lets you spin the monitor 360 degrees (both vertically and horizontally).

Alternatively, you can simply link the camera and external monitor with an HDMI cable. And most monitors will also allow you to “loop” the footage to other monitors or devices if you’re working with an assistant on set.

An external camera screen can bring significant benefits to your videography workflow. The screen resolution, size, brightness, and contrast will be a step up from the LCD screens usually found on the backs of cameras. That means outdoor shooting will be a breeze—even in direct sunlight!

On-camera monitors also offer touchscreen control, 4K and HD video recording, and plenty of features such as histograms, waveforms, and vectorscopes to help you make sure your footage looks just right.

Anyone who has ever set foot on a film set likely saw a half-dozen actors and crew members standing over a camera operator’s shoulder, watching the shot through a screen attached to the camera. The sweeping images we see on movie screen are first visualized by looking through a camera, but the second step before anything rolls is to view them through a larger monitor. Attaching an external monitor gives a closer approximation of how each shot will translate to the big screen, and as an added bonus, other people on set can watch the footage take shape.

The wide selection of external camera monitors on the market can be intimidating, in part because it seems like an easy purchase at first glance. After all, it looks like a very small TV that just shows what the camera is already capturing. How hard can it be to pick that out? But external monitors serve a wide range of functions, and each one is designed with specific uses in mind. Some monitors are simply displays, allowing a director and cinematographer to view potential shots in an expanded format. On a larger screen, flaws are more noticeable and colors are less likely to be distorted, giving you a better idea of what your finished product will look like. They also allow you to apply frame markers to compose shots with precision. More advanced monitors include tools that help with focusing, zooms, and real-time color correction. The monitor often serves as a more effective way to control many of the camera’s functions. And quite a few of the highest end monitors come with recording capabilities, receiving a signal from the camera but capturing it with a higher bitrate. This allows you to obtain higher quality footage than your camera would otherwise be capable of on its own. Finally, some on-camera monitors exist to capture footage and transmit it to a much larger monitor somewhere else on set via a wireless signal.

Any filmmaker can benefit from viewing their shots on a wider display than what the camera provides, so an external monitor is a must-have for any project. That said, it is important to narrow down exactly what you plan to do with yours and select a model that fits your specifications. And even a perfect monitor is useless if your camera doesn’t shoot or export the kind of footage it’s designed for, so comprehensive research is necessary. IndieWire has scouted the market for the best external monitors for a variety of budgets, and the eight best choices can be found below. Whether you are looking for help with recording and color grading or simply want a large display screen, attaching one of these monitors to your camera is certain to enhance both your filmmaking experience and the finished product.

Blackmagic, known for their popular Pocket Cinema 4K cameras and their professional URSA line, has made one of the best external monitors money can buy. This recording monitor utilizes Blackmagic’s RAW codec, allowing you to maximize image quality without taking up massive amounts of storage space, or requiring you to convert images before editing. It supports resolutions of up to 4K, has two slots for SD cards, and is highly compatible with Blackmagic’s DaVinci Resolve post-production software. While the synergy with other Blackmagic products is a nice bonus, it is far from a necessity, as this monitor works with most film cameras.

To put it bluntly, this premium monitor excels in every category. It has one of the brightest screens on the list, displays some of the most vibrant colors, and has one of the longest battery lives. SmallHD’s proprietary software allows you to begin professional-level color grading before you even yell “action!” It is often said that the best filmmakers shoot with editing in mind, and those equipped with this high end monitor will be able to seamlessly integrate the two processes to create something truly special.

This professional-grade monitor is the gold standard for outdoor shoots, with an insanely bright 2200-nit screen and a 1000:1 contrast rating. Those specs ensure flawless colors, and it comes equipped with a multitude of monitoring tools used for setting exposure. If that wasn’t enough, it also has recording capability and Bluetooth connectivity. Compatible with virtually every input and setup, it even allows you to control internal features like shutter speed and focus when used with certain camera models.

This touchscreen recording monitor is aimed at cinematographers who are truly serious about their craft. It captures 4K footage in a variety of frame rates with ease, so you can rest easy knowing this monitor will be able to handle any project. The extremely bright, 1000-nits screen is absolutely pristine. In addition to capturing and displaying the highest quality footage, it contains focus peaking, multiple tools for exposure-setting, and even inputs to record audio. The Atomos Ninja V is one of the most well-rounded monitors on the market, and is certain to please even the most discerning filmmaker.

The next entry in the Atomos line of monitors is essentially the Ninja V without the recording capability. If you like the multitude of features on the Atomos Ninja V, but want a lower budget option, look no further. The Atomos Shinobi does not compromise on the display quality or monitoring tools, so using it will certainly enhance the shot composition of any film project. The Shinobi is also more compatible with entry-level film equipment than its older brother, since many cameras are not even capable of outputting footage at the resolutions the Ninja V captures. This is an excellent choice for anyone looking to dip a toe into the world of high end monitors.

This seven-inch, non-recording external monitor is one of the best values on this list. It features a large, bright screen and a variety of tools including focus peaking that will take your visuals to the next level. For the low price, your return on investment will be sky-high. Most other monitors only contain HDMI inputs, but this one also has a DSLR hookup, giving you more flexibility to plug it into older cameras. The durable design means that you can use this for years, even if you drop it on your first day of shooting.

This relatively-inexpensive external monitor possesses many of the bells and whistles normally reserved for high end models. In addition to its excellent 1000:1 contrast rating, it contains a user-friendly touch screen, focus peaking technology, and a slot for an SD memory card. If you don’t need your monitor to record, but you want more than just a display, the Andycine A6 Plus is an excellent compromise.

The Feelworld F79 is one of the most popular budget camera monitors among young filmmakers, and it isn’t hard to see why. The HDMI and DSLR-ready display screen is a perfect entry-level camera monitor. It does not record, but the seven inch screen will improve any camera. And the 800:1 contrast rating is nothing to sneeze at! Lightweight, portable, and easy to attach, this is also an excellent choice for shoots that require a lot of handheld or moving shots.

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Even though most cameras these days come with their own monitor, external camera screens help you see what you’re recording with more clarity. Professional videographers will always opt for an external camera monitor, and if you have the budget for one, so should you.

Let’s take a look at what the best camera monitor there is currently on the market and also look at the best budget option. Let’s also discuss what you should pay attention to when shopping for an external camera monitor.

The Editors’ Choice award recognizes exceptional video production equipment, software and services. These products must help videographers be more effective storytellers while being affordable, easy to use and dependable. The products must also deliver a superior user experience.

The Atomos Ninja V 5″ Touchscreen Recording Monitor is our top choice for the current best external camera screen. This 5-inch monitor/recorder plays video back at up to DCI 4K and can record to mini-SSDs. Additionally, this monitor can record Apple ProRes RAW up to DCI 4K60. For its display, it features a 10-bit screen with a brightness of 1000 cd/m² AtomHDR technology. This allows for great, easy monitoring, even in bright locations.

It’s also built to withstand travel. It features an aluminum chassis and comes with an L-series battery. The Atomos Ninja V 5″ Touchscreen Recording Monitor is a great choice for anyone needing an external camera screen.

The Lilliput A7S 7-inch Full HD Monitor has a lot to offer for a fraction of the price of the more expensive options. For under $200, you get a monitor that supports UHD 4K video. Additionally, the monitor comes with a 16:10 aspect ratio and a 1000:1 contrast ratio. Plus, its LCD panel displays Full HD images.

It also comes with an HDMI loop-through function. This allows you to output using HDMI to other devices. The Lilliput A7S 7-inch Full HD Monitor is a great option for anyone looking for an external camera screen but has a tight budget.

However, when you do decide to upgrade, there are must-haves when it comes to producing higher-quality content — and having the best external camera screens in your gear is one of them. It is one of the first tools you should include in your endeavors to enhance your videos. But first, you have to know what to look for and budget for when buying an external screen monitor for your camera.

An external camera screen — also called an external on-camera monitor— is an add-on accessory mounted to a camera that gives you a more detailed and better-quality display of the footage you’re shooting. Whether you’re filming or recording with a DSLR, cine camera, mirrorless camera, photography camera, etc., on-camera screens help you achieve various focus effects for sharper images and better composition. Like camera lenses and camera lights, external on-camera monitors come in a variety of sizes and features depending on your use, your budget and your needs. Screens can range in size from 5 inches to 7 inches or higher. In the prosumer market, external camera screens are essential when working under bright light conditions, such as shooting outdoors in strong sunlight. And the features give filmmakers more control and feedback, especially for the crew when they need to see what is on camera.

Most cameras come with built-in LCD displays or viewfinders. Why do you need to spend a few hundred or even a few thousand dollars more for something like an external monitor? The reality is external camera screens allow you to record your content more professionally and clearly. They also give you more freedom when it comes to your camera choice, as if you have a great external monitor, the quality of your camera’s LCD screen is less of a deal maker or breaker.

With an external monitor, you can adjust the camera for better angles and get a better view of everything in your shots. They also allow both budding and seasoned filmmakers to use various shooting styles during production. You can use external monitors with a variety of rigs to capture footage. They also come with a multitude of tools and features that assist filmmakers in their daily tasks, such as focus peaking zebras, peaking vectorscopes, false color waveforms, RGB parades, video input up to UHD 4K303D, LUT previews, horizon indicators, audio meters, touchscreens and 4K HDMI input and output. Most external camera screens even have a false color filter to assist you in setting the camera’s exposure.

Content creators and directors can connect external camera screens to the video camera to give camera operators an enhanced feel for imagery in the shot. You would rarely have to test your shots or do several takes with everything external camera monitors have to offer.

Prosumers and professionals would probably answer “yes” to this question. Why? Many would tell you that external monitors are brighter than on-camera monitors and give you a better, sharper image to see on screen. High-end monitors help improve your camera’s video capabilities and functions. An example of this is the Atomos Ninja V external recorder, which lets you shoot 12-bit RAW instead of 10-bit 4:2:2 with its internal recording.

Viewfinders and built-in display monitors that come with consumer video cameras don’t give you this luxury regarding tech specs. External camera screens give you top-notch resolution and visualization. Also, they come packed with cool features that make filming your project easier. The view screens that come standard with most DSLR and mirrorless cameras limit your ability to see the details you need to see before editing your footage. They’re simply too small. You have more features and advantages using external camera monitors. For example, you don’t drain power from the camera as many viewfinders do.

The type of external camera screen you get depends on what type of camera you’re using. Whether you’re using an action cam, a DSLR or a mirrorless camera, you need to consider your project and your budget.

The moment you decide it’s time to buy a quality external monitor for your camera, you need to know what features work best for you and why. Fortunately, most manufacturers and retailers give you a breakdown of external monitors and their specifications. For example, the Atomos Ninja V is the industry standard because of all its desirable features. It’s the well-liked pick for budding and professional videographers and filmmakers because of its quality, calibrated 5-inch HDR display and power to support 4K 60p ProRes HQ, H.265, 4:2:2 ad DNxHR. Other features include pro-level monitor tools such as waveforms, false colors, HDR monitoring and LUT support. However, you need a basic guideline before coming to a final decision.

As we mentioned, most external camera screens are 5-to-7 inches. The larger the screen, the brighter the visualization and the reproduction of color. You get a clearer view of what is being recorded. If your budget allows it, you should consider the 7-inch screen. The larger screen makes it easier for clients and crew to observe footage from a distance and not crowded next to each other.

In addition, a larger external screen lets you know if you need to add more background elements to the shot or if someone or something is in the frame that doesn’t belong. The only disadvantage of the larger monitors — and most external camera monitors — is weight. They can be heavy and offer you less mobility than external viewfinders or built-in display screens on video cameras. Use your best discretion when making your purchase. If you only plan on doing casual street scenes where you need more mobility or handheld shots, then an external camera screen may not be necessary. It also may be too big if you plan on mounting one to your action cam or DSLR.

Many high-quality external monitors come with a full HD resolution, which is 1920 x 1080 pixels — or 1080p. Screen resolution makes a huge difference in seeing your video in fine detail. The more pixels, the sharper the image. You have to make sure the external camera screen has full HD resolution for focus and framing. Most modern external on-camera monitors come standard with 1080p resolution. Smaller monitors may only have a resolution of 720p. An added plus to these on-camera monitors is that you don’t need a monitor with a 4K resolution to play back 4K footage.

External camera monitors can be linked to your camera through different cables. DSLR and mirrorless cameras use the more popular HDMI cable connection. Some monitors have a standard HDMI port, while others use a mini-HDMI port. With the more professional on-camera monitors, the standard is the SDI port. The serial digital interface (SDI) has a single-pin connection that transmits the unencrypted digital video signal. There are different ports you can use when it comes to your camera’s connection selections. For example, most external monitors come with a USB upgrade port, an audio/video port, HDMI input and output ports and a 3.5 mm jack for your headphones.

You will need an HDMI cable connection if you’re looking to combine the external monitor with the video camera. These cords help deliver crystal-clear video and audio to your monitor. The type of connection cable you need will depend on its compatibility with the port on your video camera, your display devices and your graphics card. Some monitors also feature an SD-card slot for loading LUTs (lookup tables). That way, you can test out different color grading as you shoot your footage. LUT support is a great option if you want to capture in log but preview certain looks. Since LUT is a tool that lets filmmakers, editors and colorists save specific color grades as a template, it can allow you to change a color space from a TV look to a cinematic look.

When it comes to external camera screens, there’s no better tool out there to improve your shots. For cameramen using gimbals and Steadicams, it’s a must. There are so many monitors to choose from for professionals to beginners that fit any budget. And there are cool features for both indoor and outdoor use. Once you see all of the advantages these helpful tools have to offer, there’s nothing left for you to do except go out and pick one.

But don’t think field monitors are just for videography - the big, beautiful screens outlined below also come in handy for framing up perfectly-composed still images.

The question, of course, is what are the best DSLR monitors? Let’s find out! We have a great article about best DSLR camera too on our website PhotographyTalk.com.

If you invest in a DSLR camera monitor, you want something that will perform well and stand up to use over the years, not something that’s just so-so and will fall apart.

This being the case, you should look for a few specific features when shopping for a DSLR external monitor:Brightness - There’s not much point in having a field monitor if you can’t see it!

Resolution - The higher the resolution, the better. Field monitors are intended to give you a better view of the scene than your DSLR’s LCD, so a bright, resolute screen is a must.

Size and weight - You want a monitor that is featherlight and small because you’ll be carrying it around in your camera bag and it’ll be attached to your DSLR as you shoot. The less bulk, the better.

Below, I’ve listed 10 of the best DSLR monitors you can buy today. Each of the DSLR camera monitors listed below ticks all of the boxes outlined above.

Something else of note is that this camera monitor has a built-in histogram, guides, audio meters, false color, and peaking, so it’s loaded for bear to help you capture the highest-quality video.

Another primary feature of this DSLR monitor is that it comes with a handy swivel arm so you can position it precisely to get the best view - tilt it up or down and swivel it to the left or right as needed. The monitor can also be viewed in vertical or horizontal aspect.

This monitor has 4K HDMI input and output and is compatible with handheld stabilizers in addition to being compatible with virtually any DSLR. It also gets top marks from reviewers for having a beautiful color-neutral display with lightning-fast response times.

By far the smallest monitor on this list at 2.9 x 5.8 x .8" and just 7 ounces, this monitor is the perfect choice for photographers and videographers that want to run and gun.

Though the colors aren’t as robust as on some of the other monitors listed here, it does have a larger display than most and comes with a sunshade to assist in viewing on bright days.

There’s HDMI and AV inputs, focus peaking, a built-in speaker, and a check field assistant for inspecting colors. This model also comes with an articulating arm to enhance its usability.

What sets the Blackmagic Design Video Assist apart from many of the other monitors listed here is that it has both HDMI and 6G-SDI inputs. That means you can use it with both professional and consumer-grade cameras.

Another brand you might not be familiar with is Lilliput, but their 668GL is an excellent budget-friendly DSLR monitor that’s worthy of a good, long look.

Though it doesn’t have the resolution or field of view of the other monitors on this list, it’s 16:9 aspect ratio is particularly nice for video work. Likewise, the anti-glare finish on the monitor aids in making it easily viewable, even when shooting outdoors in sunny conditions. A sun hood is also included. This isn’t to mention the large 7-inch screen, which is among the largest on this list.

This unit has an HDMI input that supports most DSLR cameras up to 1080p resolution. The built-in battery offers three hours of use while the 6-20 VDC power source offers additional power options.

This monitor’s claim to fame is its peaking boost capability for pulling focus. Likewise, it has focus assist, camera logs, HDR emulation, and LUT import.

The A7S offers 4K inputs and is compatible with UHD 4K with a 16:9 aspect ratio. You get a full HD display panel for crisp, bright views of the scene. Likewise, it offers HDMI loop through functionality, which means you can connect it via HDMI to other devices with an HDMI input.

DSLR scaling enables you to extend the HDMI video output to 3:2, 16:9, normal or full screen, while underscan constrains the size of the image so you can see everything the camera sees on the monitor.

Whether your camera has a front-facing (articulating) LCD or not, an external camera screen helps you see a live preview with better fidelity and color calibration.

If your camera outputs a clean HDMI feed, the best external monitors even allow you to record directly to a built-in SSD or memory card, maximizing image quality from both mirrorless cameras and DSLRs.

Other pro features include frame markers, LUT previewing, aspect ratio guides, highlight/shadow peaking, zoom in, HDR, false color, vectorscope, RGB parade and waveforms.

The Atomos Ninja V external monitor and recorder is an industry-leading model that offers the maximum bit rate and depth from your camera, ensuring the very best image quality, with the additional benefit of recording in ProRes Raw format.

With a 5-inch 16:9 touch screen at 427 pixels-per-inch, it features a brightness of 1000 nits, making it a smooth operator even when used in sunlight, maintaining a crisp, clear image. There’s a wealth of customisable options, including luma waveform, vectorscope, and focus peaking, allowing users to really dig into the look and feel of the footage they shoot.

The codec options for the Atomos Ninja V external monitor are near-limitless, with Avid DNx and H. 265 available in addition to ProRes,with log formats including Arri Log, Clog, and Red Logfilm adding to its impressive versatility.

Blackmagic has established itself as a manufacturer of some of the best semi-professional, consumer-friendly video cameras on the market, and their commitment to quality is present in their camera field monitor, the Design Video Assist 3G.

Sporting a roomy 7-inch screen with a resolution of 1920 x 1200, it supports a range of video formats and allows users to shoot in Ultra HD using dual high-speed recorders.

It features a 3G-SDI and HDMI input, as well as two 3-pin mini-XLR inputs with 48V phantom power support for excellent audio recording, while the two included SD card slots make continuous recording possible by giving you the option to swap out cards on the fly. The touch screen comes with a good selection of options to tweak and refine footage, from false colour, frame guides, focus peaking and focus assist, and zebra, with additional LUTs assisting with further refinement of the picture’s desired colour.

The Blackmagic Design Video Assist 3G, like the Atomos Ninja V, also supports recording in 10-bit Apple ProRes and Avid DNx, so if you have a higher-end camera you’ll get the best possible quality to work with.

With its larger screen, extensive customization tools, and multi-format support, the Blackmagic Design Video Assist 3G is one of the best external camera monitors you can buy.

Returning again to Atomos for their pared-down and budget-friendly alternative to the Ninja V, the Atomos Shinobi, which sacrifices recording capabilities and some professional features, but keeps the overall high production standards of its bigger brother.

It even includes a new tool you won’t find on the Ninja V, the Analysis feature, which allows you to see what you’re shooting and view the waveform, histogram and vectorscope without them covering the image.

If you find the Atomos Ninja V appealing but want to save money and don’t mind sacrificing the ability to record, the Atomos Shinobi is an excellent quality field monitor that is ideal for vloggers, videographers, and other creatives.

The Feelworld FW568 field monitor brings many of the core features of high-end field monitors to the table, but at a considerably lower price point, allowing amateur videographers to up their game when shooting video without spending too much money.

Featuring a 1920 x 1080 high-resolution 5.5-inch screen, it’s compatible with a wide range of DSLR cameras, and includes three fast keys for quick operation and a compact, lightweight build for ease of carrying. The range of tools included is impressive, with waveform and 3D LUT available via the USB interface support, as well as other useful tools such as brightness histogram, peak focus assist, zebra exposure, and false colours.

With over a thousand 5-star reviews on Amazon, the Feelworld FW568 monitor is hands down the best budget external camera screen you can buy, perfect for budding amateurs who want to expand their videography horizons without breaking the bank.

Another excellent budget external camera screen for amateur enthusiasts is the Liliput A7S, which sports a larger screen than the Feelworld FW568, coming in at 7-inches, and presenting images at Full HD 1920 x 1200.

While it lacks the extensive customisation tools in more expensive field monitors, there are some handy tools here for beginners to work with, including false colour, pixel zoom, peaking, and focus assists.

Don’t be put off by the low price of the Liliput A7S – as entry-level external camera monitors go, this is exceptional value for money with enough features and tools to deliver a flexible operating experience when shooting video with DSLRs.

The SmallHD Indie monitor is one geared towards more experienced videographers, combining a raft of internal imaging assistance tools with a crisp full HD IPS LCD touch screen, and an excellent workflow.

The monitor’s PageOS 4 software toolset ensures rapid and accurate performance, whether you’re utilising the 3D LUT overlays, working with focus assist and exposure assist, or making the most of the Teradek RT overlays. Widely used by indie filmmakers and cinematographers, the SmallHD Indie monitor’s software can help you to achieve professional-level colour-grading on the fly, shooting striking footage which will capture the best characteristics of your chosen camera.

If you’re looking for an on-camera monitor that allows you to use the touch screen in a central command hub, the SmallHD Indie has software upgrades that allow you to access the internal configuration settings of RED DSMC2 & KOMODO cameras.

The SmallHD Indie external camera screen is on the advanced end of the spectrum and doesn’t come cheap, but it’s a solid choice for semi-professional and professional videographers using professional cameras, who require a smooth workflow and excellent quality images.

Make sure you choose the connector capable of outputting footage from your camera at the best possible resolution and frame rate so that the external camera monitor image is a true representation of the subject you’re shooting.

When choosing the right external camera screen for your needs, you’ll first need to check the resolution output of your camera to make sure the monitor supports it. If you’re shooting in 4K resolution, you’ll need to select a monitor which is capable of correctly down-scaling to full HD and supports the ability to zoom in to 100%, so you can properly check the focus.

If you opt for one of the smaller on-camera monitors, you can get away with a lower resolution on account of the denser pixels creating the impression of a sharper image.

Some monitors are marketed as “daylight viewable”, delivering up to 1000 cd/m2 (nit) brightness, so image reproduction remains clear even when viewing the camera monitor in direct sunlight.

A cheaper alternative is to invest in a hood for the monitor, although these can have only limited effectiveness if it’s a particularly bright and sunny day.

A waveform monitor, often used on professional cameras to assist with calibration, can be used to visualise the image signal and assist with exposure and focus.

It’s also a useful tool for checking the colour gamut, assisting with colour correction and other image calibration techniques. The rapid adoption of HDR (high dynamic range) cameras and devices means you may need to invest in an HDR-compatible camera monitor if your camera records in this format.

While this isn’t essential, monitors that can receive HDR will deliver a more vibrant image, but bear in mind this feature could significantly increase the cost of the monitor.

Finally, camera monitors with LUTs (Look-Up Tables) allow the operator to view images in a range of tonal grades and transitions, and are the most important of the advanced monitoring tools we’re covering here.

This feature is also worth considering if your camera is capable of outputting in raw outputs, for instance, ProRes RAW, which will require a compatible camera monitor.

If you’re unsure which external camera monitor to go for, you can use your Android smartphone to perform the same role, connecting your camera to the phone so you can view and record the footage received.

To use your phone as an external monitor: Connect the camera to your phone.For example, this can be achieved by using a Micro HDMI to HDMI cable, with an HDMI to USB capture card, along with a USB-A to USB-C cable.

Mount the phone to the camera’s hotshoe. This will require a camera hotshoe with a tripod screw adapter suitable for your phone, and a phone tripod mount.

Install the USB camera pro application. You can get a free version of the app from Google Play Store, which allows for a range of video format options, including 4K H.264 video recording.

While this configuration doesn’t allow you to record 10-bit video, and you may experience some dropped frames on older phones, it’s an effective workaround for those unable to afford a dedicated external camera screen.

The best camera monitors help free up videographers from the constraints of their camera, creating more dynamic, expressive, and free-flowing video footage.

Most modern mirrorless and DSLR cameras come equipped with a screen to view content, but they may not always be reliable. Some are too small for detailed manual focus work. Others are stationary making it difficult to frame certain shots. Adding an external monitor to a camera can not only provide a larger viewing area but can also offer additional tools for filmmakers not found on the camera.

Generally, mirrorless and DSLR cameras can have limited internal recording features, but an external output can offer a higher bit depth or chroma sub-sampling. Say 10-bit 4:2:2.

There are also monitors that can transmit a wireless video signal to a second monitor, commonly used as a director’s monitor, while still offering traditional features. I’m surprised there isn’t a monitor that can monitor, record, and transmit a wireless signal. Maybe soon? If you know of one, let me know in the comments.

The majority of camera monitors are between 5” and 7”. But you can even use your smartphone (more on that later). Anything larger generally serves as a set monitor. While 7” monitors do offer a larger viewing area, some 5” monitors come with a compatible eyepiece that acts as a loupe. The viewfinder can be especially handy in abnormal shooting conditions.

HDMI specification today is generally 1.4, 2.0 (2.0a, 2.0b) or 2.1. HDMI 2.1 is the newest spec that supports resolutions up to 10K, HDR, and has a bandwidth capacity up to 48Gbps. It’s the future of HDMI. Right now, most cameras and monitors support HDMI 1.4 or 2.0.

SDI is available in SD, HD, 3G, 6G, and 12G. 24G is in the works. There’s also Quad Link and Dual Link versions that take multiple signals (four or two) and combine them to transmit a richer signal. For example, Quad Link 3G-SDI bonds four 3G-SDI signals into one 12G signal and can transmit 10-bit 4:2:2 or 12-bit 4:4:4.

Without going into too much detail about each, know that 12G-SDI supports higher resolutions and chroma sub-sampling rates on a single cable over 3G or 6G. 3G-SDI is optimized for full HD (1920 x 1080) whereas 6G and 12G are better for 4K video. 12G can easily support 4K DCI at 60p. If the monitor only has a 3G-SDI, it most likely only supports full HD on a single cable.

While monitoring in full HD is sufficient, if you want to future-proof yourself a bit, look for a monitor with 12G-SDI support. As 4K and HDR workflows become more common, having access to the higher bandwidth will be welcomed.

Monitors with a resolution higher than full HD are available now and will become the norm. The most important thing to consider is if the monitor has a 1:1 pixel mapping or 1:1 pixel mode. Pixel mapping matches the source sent from the camera to the monitor to allow you to see the image full screen.

The CIE 1931 chromaticity diagram was invented in 1931 and the graph represents all the colors that can be seen by a human eye. A color gamut is a range of colors plotted on the graph. Two standard color gamuts are RGB and CMYK, with RGB being used for video and CMYK generally reserved for printing. A standard color space for video is Rec. 709.

Standards are established to create uniformity, especially for broadcast television. That"s why The Office generally looks the same whether you"re watching it at home or at a friend’s house.

The broadcast standard for well over a decade has been Rec. 709, but DCI-P3 and Rec. 2020 are emerging. The main difference between Rec. 709 and DCI-P3 is that DCI-P3 can display more green and red tones, but the number of blues is the same. DCI-P3 will provide an increase in picture quality over Rec. 709, and Rec. 2020 blows them both away. sRGB - Consumer computer monitors (covers 35.9%)

For camera monitors, Rec. 709 is sufficient, but DCI-P3 is slightly better. Mobile devices, computer monitors, and televisions are supporting DCI-P3, and if the final deliverable will be DCI-P3, why not monitor in it. Plus, you have access to more of the color space for better exposure.

Bit depth is a frequent topic discussed on No Film School. 8-bit, 10-bit, 12-bit, and 16-bit are all examples. Bit depth refers to the amount of color information that can be stored in an image. The higher the bit depth, the more colors that can be stored. 8-bit: RGB 256

Industry standard scopes and tools are a must when it comes to camera monitors. Waveform, RGB parade, vectorscope, histogram, zebra, false color, guides, aspect ratios, exposure tools… does it support LUTs?

Touchscreens are fairly standard, and so are monitors that are responsive. Meaning, when you flip the monitor vertically or horizontal, the image will follow suit. The viewing angle is also important. The greater the viewing angle, the easier it will be to see the image from the side.

You"ll also want to consider the mounting options of the monitor. Cold-shoe? Does it have any 1/4-20" or 3/8" mounts? For power, it should have an external battery option as well as AC power. Hot-swappable batteries is a bonus, the same goes for monitors that can power other accessories or even the camera via D-tap.

Your smartphone can also be used as a monitor if you use any number of apps, including the $20 Field Monitor app for Apple devices. However, it is limited in its camera support and functionality, so be sure to read all the fine print. Others have found luck with the $9 qDslrDashboard app for Android, but again, it"s also limited.

Depending on the camera manufacturer there also might be a native app, like the Panasonic LUMIX Sync Support app available for Android and Apple Devices. Nikon has a version. The same with Canon. While limited in functionality, the apps do offer a live view and record functionality. This is also a great feature if the camera needs to be separated from the operator.

Camera monitors can be great tools for filmmakers offering flexibility in monitoring and recording or even wireless. It"s important to consider the features that fit your workflow needs. Finding that perfect balance between functionality and price point starts by asking yourself a question: What type of monitor is best for me? If you have found a preferred monitor already, let us know in the comments below.

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An articulating or vari-angle LCD – commonly called a flip screen – is a useful addition to a camera. The screen is mounted on a swivel, allowing you to flip the screen away from the camera body and rotate the LCD 360 degrees.

Flip screens have traditionally been useful for taking photos at unusual angles. For instance, framing a bug’s-eye view from ground level used to mean setting your camera down low and awkwardly trying to see through the optical viewfinder. There was usually a lot of guesswork involved.

With a vari-angle, or flip screen, you can now set the camera up at ground level and angle the articulating LCD up towards you and frame the scene in live view.

Despite all these advantages for shooting stills, it’s probably the rise of vlogging that has seen the popularity of cameras with flip screens soar. Like shooting self-portraiture, vlogging requires placing yourself on the other side of the camera, and before flip screens were a thing this required a lot of careful setup and trial and error.

But swivel LCD touchscreens mean you can now place your camera in front of you, frame your shot accordingly and simply tap the screen to take a picture or start recording. If you have even modest ambitions to post videos on YouTube, a camera with an articulating screen will undoubtedly be the best option for you. In this guide we’ll round up the best cameras with flip screens.

The Canon EOS R5 leaves little doubt that Canon is now serious about the mirrorless camera market. It has phenomenal specification with features like a 45Mp full-frame sensor, phase detection autofocusing that covers the whole frame, eye AF for humans and